James Berardinelli

The Devil Wears Prada 2 is harmless enough, although it exists more as an afterthought than a legitimate continuation of a story that was fully told twenty years ago after the first 105 minutes.

When compared to the recent influx of musical biopics, this one sits somewhere in the middle; there is too little depth to elevate it to the top, but the soundtrack is too strong to let it sink to the bottom.

The obligatory concluding remark for a horror movie about the undead applies here: the best approach is to leave it buried.

In terms of checking off the genre’s requisite boxes, You, Me & Tuscany does just enough to earn a passing grade for rom-com devotees who prioritize "vibes" over cinematic standards.

While I admired the lead performances, the journey of The Drama remains unfulfilling. When I see a movie like this, I want to connect with the characters and believe their circumstances. I got some of the former but practically none of the latter.

If the idea of spending 90 minutes in a movie theater seeing gorgeously rendered versions of a hugely popular gaming world and its characters going through the motions appeals to you, then The Super Mario Galaxy Movie will scratch the itch.

Ultimately, The Bride! has "cult classic" written all over it. It possesses very little mainstream appeal—it is simply too weird and outlandish for the average moviegoer—but there are enough flashes of brilliance to fascinate a niche audience in years to come.

Looking back at Psycho Killer as a whole, the missteps in the final 20–30 minutes easily overwhelm some of the earlier, better material. It's tough to recommend this even as a streaming time-waster.

If the mandate for any new interpretation is to offer something fresh, one is left wondering what this version claims as its justification for taking up over two hours of our time.

If the legend of Dracula has become tired through overuse, there is certainly nothing in this iteration to grant the old Count a new lease on life.

Made well, this sort of material has the potential for a deliciously lurid two hours. But Feig's lack of aptitude with the material results in a cheap and artificial product, never really drawing the viewer into its web and spinning an overlong yarn that fails to embrace an identity.

There’s enough suspense to keep an itchy trigger finger from changing the channel but viewers hoping for more won’t find it here.

The movie makes a variety of changes to Jeffrey’s story to make it more cinematic, but without the kind of narrative reworking needed to streamline the material, the result feels unfocused and shapeless.

It’s rich material, but despite having one of the greatest actors of his generation at his disposal, Ronan manages to fumble it—delivering a film that functions more as a sleep aid than a drama.

While the film does deliver a few solid laughs (though none that truly hit an 11), it ultimately falls flat, feeling less like a theatrical mockumentary and more like an overlong streaming special.

This movie is built to be consumed, forgotten, and replaced — a product, not an experience.

There's enough in the film to assemble an intriguing two-minute trailer. Unfortunately, the movie has an additional 92 minutes to fill and that's not something it's able to do with much success. The problems with Oh, Hi! relate not to its conception but its execution.

Unfortunately, for all its button-pushing, the movie's biggest offense is that it is often tedious and meandering and it takes at least 30 minutes too long to cross the finish line.

It’s past time to let the dinosaurs take a nice, long vacation. That way, when they come back, maybe we can once again be excited about them. “Excitement” is not something Rebirth delivers with relish or consistency.

The overall production is bland and overcooked and the reliance on nostalgia and regurgitation often renders things dull and routine.

Another Simple Favor feels lazy and overplotted, and it definitely overstays its welcome.

The movie works when focused on character interaction and buddy-movie tropes, but the action elements are perfunctory at best and boring at worst. Bill Dubuque’s script is never able to balance out the ledger.

This is yet another early 2025 movie where there’s just enough material in the film to assemble an intriguing three-minute trailer but not enough to make the other 120 minutes of more than passing interest.

Some players will enjoy the flashes of familiarity but others will find the production to be lacking. “Cringey” might be too harsh but this is unlikely to become the next video game-to-movie classic.

The seeds of a nice little white-knuckle thriller are evident but they never germinate properly. The end result is profoundly disappointing and can’t be saved by the few individual moments that do work.

A mostly failed attempt to merge sci-fi with satire, Mickey 17 suffers from a fragmented narrative and a scenery-chewing performance from Mark Ruffalo that belongs in a different movie (perhaps Poor Things).

Captain America: Brave New World, the fourth title to co-opt the “Captain America” name and the first to star Anthony Mackie in the role, is another example of how badly unmoored the MCU has become in an era of unfamiliar heroes and stalled storylines.

At best, Gibson’s direction could be considered pedestrian. He fails to generate much tension prior to the climax and the characters never do enough to engage the viewer. The protagonists are bland and the villain lacks charisma.